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Out of Sight

Out of Sight

Romance · Comedy · Crime · 1998

Meet Jack Foley, a smooth criminal who bends the law and is determined to make one last heist. Karen Sisco is a federal marshal who chooses all the right moves … and all the wrong guys. Now they're willing to risk it all to find out if there's more between them than just the law.

Movie details

Out of Sight

“Opposites attract.”

1998 Romance · Comedy · Crime 2h 3m

Critical arithmetic

The consensus, allegedly.

IMDb

7.0 / 10

103.7K votes

Rotten Tomatoes

94 %

Tomatometer

Metacritic

84 / 100

Metascore

TMDB

6.7 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Meet Jack Foley, a smooth criminal who bends the law and is determined to make one last heist. Karen Sisco is a federal marshal who chooses all the right moves … and all the wrong guys. Now they're willing to risk it all to find out if there's more between them than just the law.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Out of Sight?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Steven Soderbergh

Written by

Scott Frank

George Clooney

George Clooney

Jack Foley

Jennifer Lopez

Jennifer Lopez

Karen Sisco

Ving Rhames

Ving Rhames

Buddy Bragg

Don Cheadle

Don Cheadle

Maurice 'Snoopy' Miller

Steve Zahn

Steve Zahn

Glenn Michaels

Dennis Farina

Dennis Farina

Marshall Sisco

Catherine Keener

Catherine Keener

Adele Delisi

Court is in session

Put Out of Sight on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.